Well....the paragraph in which this is inset says The Face Behind The Mask reference is a good find, but I'm not convinced this photo is from it. It looks like other pics in that article may be from other flicks.
Alfred Hitchcock Presents (1955 - 1962) Trivia "Most people who have seen this series remember Alfred Hitchcock's opening and closing narratives for the series. However, for each episode, more than one opening and closing was filmed, as Hitchcock's famous jibes at the sponsors were unappreciated in the European markets. So for each episode, Hitchcock filmed two openings and two closings: one would be for American viewings (jokes about sponsors) and the second would be for European showings (jokes about Americans, and not about sponsors). For most of the third season, Hitchcock even did the opening and closings in French and German, as he spoke both languages fluently". "Alfred Hitchcock drew the silhouette of himself featured in the opening credits. He began his movie career as an illustrator of title cards for silent movies". "The entertaining and inventive intros and outros featuring Alfred Hitchcock were all written by James B. Allardice".
I still watch at least one episode a day (1:00AM-1:30AM), and may catch the one following it...if the weather don't mess up my reception. I did not know Europeans were so fond of their sponsors...I wonder who they were.
Alfred Hitchcock's only child, Patricia Hitchcock, died Monday, August 9th, 2021, at age 93. She talks about making the movie Strangers on a Train. Alfred Hitchcock and Patricia, 24 August 1937
The Alfred Hitchcock Project #9: The Manxman (1929) “The only point of interest about that movie is that it was my last silent one… it was a very banal picture.” - Alfred Hitchcock "Hitchcock may have considered his last fully silent picture banal, but the evidence proves otherwise. With The Manxman Hitchcock continues to refine his skills, delve deeper into character, and provide his audiences with hints of the greatness that would fully emerge in his subsequent films. This is far from banal".
Alfred Hitchcock's forgotten Holocaust documentary "Hitchcock was asked to assemble footage shot by a British army film unit cameraman of the liberation of the Bergen-Belsen concentration camp in 1945. But the resulting documentary, which had been commissioned in an attempt to inform and educate the German populace about the atrocities carried out by the Nazis in their name, was ultimately held back." "In 1945, director Alfred Hitchcock, embarked on a difficult film project: Documenting the Nazi atrocities in liberated concentration camps across Europe. It included horrifying scenes from Bergen-Belsen, which was liberated by British troops in April 1945. The film, 'German Concentration Camps Factual Survey,' was to be a lesson for all mankind. The powerful film was lost and forgotten for 70 years".
@Marie Mallery I had forgotten about Otto Preminger, and how he and Alfred were certainly rivals as Directors. Saul Bass, used innovative opening titles and credits in both of their movies, with amazing results! "Certainly, there were title sequences before Saul Bass came along, the main purpose of which was to display the requisite legal jargon associated with a film’s production. Generally deemed unremarkable, they were often projected on a theater’s curtains which would open only to catch the first frame of the movie when the story ‘officially’ began". "Preminger, however, considered Bass’ opening sequences essential to the film itself. When distributing reels to theaters for THE MAN WITH THE GOLDEN ARM (1955), Preminger demanded a note be included: “Projectionists: Pull curtains before titles!” "What made Bass’ titles different"? "Sit back and enjoy Gary Leva’s short film SAUL BASS: TITLE CHAMP. Set to a bebop jazz beat, this documentary offers insight into Bass’ extraordinary work. Through archival footage of the man himself and interviews with directors Martin Scorsese and Guillermo del Toro, we learn why Bass is still considered the medium’s greatest artist". To Watch video, click on "Watch on Vimco", below A SELECTION OF BASS TITLE SEQUENCES AND POSTERS
Reassessing the Saul Bass and Alfred Hitchcock Collaboration "After Psycho, Hitchcock “seemed to harden his heart increasingly toward others associated with his continuing popularity,” and did so increasingly as his own popularity and film box office appeal waned.7 For example, Joseph Stefano, who wrote the Psycho screenplay, recalled, “Hitchcock never mentioned writers in any of his interviews. It was always his picture.” This attitude is one of the contexts within which Hitchcock’s collaboration with Bass should be considered. It helps one better comprehend why Hitchcock hired one of the leading graphic designers in the world, a man he admired for making strong visual images, and paid him a large sum of money out of his own pocket for the work (Hitchcock had to put up the money for the production because studio funding was not available), only to find it difficult to give due credit a mere six years later". "In the eighteen years that I have been studying and writing about Bass and his work, I have found that challenging Hitchcock’s reply to Truffaut is akin to challenging the word of God. But Truffaut presumably asked the question about Bass’s contribution to the shower scene in the first place because he, like most informed people in the film world at the time, understood that Bass had visualized it; after all, Bass had been given the U.S. industry’s first public credit as a pictorial consultant. Film director Billy Wilder, who knew both Bass’s and Hitchcock’s work inside out, had little patience with those who could not see the difference between the overall style of the film and that of the shower scene. He told me, “Like most people in Hollywood you knew who did what if you were in the industry, especially if great stuff was involved. Everybody talked about that scene. Right from the beginning I understood that Saul did it. Everybody knew. Everybody knew Saul was brilliant. Who questioned it until those remarks of Hitchcock?…You only have to look at the sequence and look at the film and think. Think for one minute. You see the shower scene and you see it is not at all like Mr. Hitchcock—King of the Long Shot.” (READ MORE)